Chris,They're fine, of course. Even though I did not follow with a score.But I've always felt that the declamatory sections of the B-flat prelude could be more, well, declamatory, and that this might be achievable only by relaxing the tempo a little. (I.e., I think just about everyone plays this one too fast.) Or perhaps old Bach did not mind temporary relaxations of tempo in the recitatives.Your sense of counterpoint is very pleasing, and I find it hard to say much about your fugues.

To BWV 868:Prelude:yes, that´s nicely played and from bar 15 on it also has some nice agogic. This could have been the case earlier through the whole prelude from my point of view. (Just as a tip as always.) And the main theme could have been voiced out better. Especially here in this prelude it´s wandering through the different voices very obviously and from bar 15 on also in it´s "rerverse mode" (Umkehrung in german), so indeed, bar 15 is a special point in this prelude and may be that´s an argument to do something special like little rubati from here on.But from my point of view this wouldn´t make a sense without a conscious voicing of the subject.

Fugue:nice version, the tempo I feel a bit faster maybe, but that´s always a matter of taste. In bar 11 the thirds in the upper voice are a bit weak (especially the d-sharp is´nt audible any more), but for this the voicing in the tenor from the end of bar 11 is done with audible consciousness, very nice, also in bar 16 in the alto. But the subject in the "reverse mode" (Umkehrung) in bar 18 in the soprano could be voiced out much more clearly. I think, the reverse mode is a principe of this pair (it already was in the prelude), so it should be considered as something important. Also in the alto from bar 20 on. In bar 21 it´s in its original mode again. These are my tips for you.

To BWV 866Prelude:nicely played and the improvisational character comes out quite well. In bar 12 the run is a bit interrupted at the end. The dotted chords could be a played a bit more precise at some places. But these are only small suggestions of improvement. It´s really a good version from my view.

Fugue:Also a nice version. In bar 14 on the last beat the b flat in the tenor is too weak respective inaudible. In bar 16/17 there is too much pedal. Before you have such a clear and nice articulation, so that the pedal here really stands out and seems not to fit in the whole concept. In bar 23 the important a in the tenor is left out. (It´s important, because it is part of the subject.)In summary it´s a nice version with a totally adequate tempo from my view.

Had a listen to both recordings, both sound great. The Bb major I believe is a redo, and the original sounded at quite a fast clip, this recording seems to be even more so! I personally like it at a fast tempo, even if the tempo is up to the performers imagination as all WTC works are.

_________________"I don't know what music is, but I know it when I hear it." - Alan SchuylerRiley Tucker

Thanks David and Kaila Almost complete control, I wish that were true ! Not only are the fingers not that articulate, but the instrument does not have the lightest and most even touch. But that it sort of sounds like it, that is good

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